Mentioned in this September 15, 2008 post on the official Allman Brothers Band website forum.

Here is an excerpt from the first draft of Johnny's book:

"Duane was playing a Telly with a Strat neck and he and Gregg both had super Beetle Vox amps. I had an early '60s Fender Bassman amp Duane really liked so we took it out to California with us. As loud as we were playing at that time, the speakers in the amp were going and not quite loud enough so we put JBLs in it. I kept that amp until my friend, Butch Owens, borrowed it and it was stolen. He later replaced it with something as good as or maybe even better than what I had. It's a good amp and I still have it. I think it was one he got from Joe Walk. Paul played an A-100 with a leslie cut down to be portable. It wasn't a B-2 but it was close to it and we had a Wurlitzer piano that Gregg played. When Pete joined the band he played a Jazz bass with a custom amp. The amp belonged to a guy who lived in Decatur. We had a Fender 12-string Gregg would use sometimes and maybe an acoustic/electric guitar. Gregg didn't play guitar very often but he wrote a lot of songs on one. He became friends with Jackson Browne when we were out there and Gregg learned a lot from him. I think they learned from each other. Gregg went through a folk phase with his writing but his style changed with different instruments. I've still got the Wurlitzer from the band and it has a story that came with it. Several of us went to a music store in L.A. and picked out this particular Wurlitzer for Paul to play since he was playing most of the Wurlitzer parts then. Actually, Gregg and Paul set up close together so they could swap between the Wurlitzer and B-3 when they needed to but Paul was primarily on the Wurlitzer. The salesman showed us how to hook it up to an amp which was essential because you couldn't play it off the little speaker that came in it. Once we figured it out, it sounded great. The Wurlitzer is still my favorite keyboard. Duane had borrowed a '59 gold top Les Paul from Tommy Compton, who still lives in Decatur, and he didn't want to give it back to Tommy. And Tommy definitely wanted it back. Eventually it worked around to Gregg trading the Wurlitzer for the guitar. The guitar was worth more than the piano but Tommy had a use for it and was trying to keep Duane from getting busted because Tommy's dad was ready to go after Duane to get the guitar back. So, the piano was sent back to Decatur and Duane kept the guitar. Of course that guitar would be worth a fortune now, certainly more than the piano is worth. Tommy eventually sold the piano to a guy who sold it to Eddie Hinton. After Eddie died in '95, his mother sent the piano back to the guy who'd sold it to Eddie and I bought it back from him a year or so later to use in my studio."

Tommy Bolin is known to have used the Vox Super Beatle guitar amplifier stack. For more details on his equipment and sound, refer to the article on Treblebooster.

Mauricio Durán premiered the Vox Super Beatle V1141 / V1142 amplifier at Lollapalooza Chile 2026, as provided by Fatstore.cl, as detailed in this Instagram reel. https://www.instagram.com/p/DWCJV2qkSNP/

"What a thrill when that showed up in the mail! Usually, I use an Ampeg VT-22 or Vox Super Beatle head. The Vox is excellent for steel guitar because it has very little inter-modular distortion at low volumes. It's an old one and has a nice reverb and echo for the steel."

Fred Smith and I got 100-watt Vox Super Beatle amplifiers. Before the Beatles they were just called AC-100s. They were really great; nothing in America had 100 watts. The biggest amps were Fender Dual Showmans at 65 watts with two 15? speakers. The Super Beatles were 100 watts with four 12? speakers and two high-frequency horns mounted in a tubed frame cabinet you could tilt back. It was a huge piece of machinery and very intimidating because it was black. We had two of them; a T60, the transistor bass amplifier with a 15? and 12? speaker and two Vox columns for our PA system with six or eight 10? speakers mounted on chrome stands that went on each side of the stage. In those days, that was the state-of-the-art PA system; there was no such thing as monitors or side-fills.

Nesmith is seen here using the Super Beatle performing on camera with the Monkees

Luke talking about his Vox Super Beatle cab.

On Hilton Valentine's website he says, "Around the later part of '65 I started using the VOX Super Beatle amp for gigs in the U.S. "

James Brown and his orchestra had a promotion deal with vox from 1966- 1970 where the band only used Vox equipment on and off stage.

He was known to run those into a Roland Jazz Chorus, Vox Super Beatle, and a Fender Twin Reverb

"A hybrid 730 – the Revolver/Sergeant Pepper amp. There’s an AC100 that I got in ’78; I put it in a flight case and have taken it out three or four times to record with it. It looks like a time machine. Those amps were overpowered and underventilated, so they always blew up. There are probably very few examples left, let alone one that’s mint. I own AC50s, AC30s, and Super Beatles."